Steve Reich: New York City, May 2005 Credit: Jeffrey Herman
by Ben Hogwood
Steve Reich is 90.
Steve Reich is 90 and I’m listening…
Steve Reich is 90 and I’m listening to everything…
Steve Reich is 90 and I’m listening to everything he’s published.
Steve Reich is 90 and I’m listening to everything he’s published. Join me
Steve Reich is 90 and I’m listening to everything he’s published. Join me on the journey!
That’s right – one of the most original and influential composers of the second half of the twentieth century – and the first quarter of the twenty-first – has reached his 90th birthday. I’m intending to listen to everything he has had published in a series called ‘Pulse Music’ – a label Reich decided fitted his musical approach rather well.
I’ll begin with the tape pieces – It’s Gonna Rain, Melodica, Come Out…and wind up with the recent compositions Traveler’s Prayer, Jacob’s Ladder and In All Your Ways.
It promises to be an inspirational and fun experience…so please do come along for the journey!
It is curious that minimalism – often a genre with a great deal of musical activity and kinetic energy – has provided some of the most ambient music in the modern canon. A prime example is the Music for Mallet Instruments, Voices and Organ of Steve Reich, whose music shimmers in the warm sun:
In something of a rarity for the Arcana pages, I’m very pleased to say I have made a guest appearance on Naomi Belshaw‘s very excellent Whisky High Notes podcast. The idea is to pick four meaningful pieces of classical music and present them to Naomi, who thoughtfully and creatively pairs each with a whisky.
My appearance is on episode four, which you can watch below:
I would strongly encourage you to watch the rest of the series, whose contributors so far include artistic director of King’s Place Sam McShane, viola player Dan Shalliday and composer Dobrinka Tabakova. Click here to access the Whisky High Notes homepage
Stravinsky Symphony in Three Movements (1942-5) Reich Jacob’s Ladder (2023) [BBC co-commission: UK premiere] Tippett The Midsummer Marriage – Ritual Dances (1946-52) Elgar Variations on an Original Theme ‘Enigma’ Op.36 (1898-9)
Synergy Vocals [Tara Bungard (soprano), Micaela Haslam (soprano/director), Will Wright, Ben Alden (tenors)], BBC Symphony Orchestra / Martyn Brabbins
Royal Albert Hall, London Friday 30 August 2024
reviewed by Richard Whitehouse Photos (c) Andy Paradise
What should have been the 133rd concert that Sir Andrew Davis conducted at the Proms became a commemorative event after his untimely death in April but, with Martyn Brabbins presiding over a thoughtfully amended programme, the outcome could not have been more appropriate.
Proceeding unaltered, the first half began with Stravinsky’s Symphony in Three Movements in a performance redolent of Otto Klemperer in its deliberation if without that conductor’s heft – not least an opening movement whose rhythmic trenchancy felt a little dogged as it unfolded. Best was the Andante – its deadpan humour complemented by the beatific poise at its centre, then a transition of hushed expectancy to launch the finale. Here the closing build-up might have been more visceral, but the conclusiveness of that final chord could hardly be doubted.
Davis (above) was hardly known as proponent of Minimalism in general or Steve Reich in particular, thus his scheduling this first UK performance of the latter’s Jacob’s Ladder could be taken as significant. Playing just under 20 minutes, this is artfully structured as four short ‘expository’ sections followed by four longer ‘developmental’ ones. The former pitted its four vocalists – a telling number in this context of eight strings, six woodwind, two vibraphones and one piano – against an instrumental ensemble that took precedence in those latter sections; the final one brings them together in new-found accord. Dealing with scalic patterns in all their conceptual and metaphorical implications, the musical content typifies late Reich in ruminative elegance or subdued intensity which, if it offers no revelations, is yet satisfying in its stylistic deftness.
Schumann’s Second Symphony had been planned for a second half as now commenced with the Ritual Dances from Tippett’s The Midsummer Marriage – an opera, and composer, close to Davis’ heart. Unfailingly cohesive to the degree its series of elemental and seasonal dances interwove with their respective ‘transformations’ and ‘preparations’, this account was equally notable for its textural clarity even in those most contrapuntally intricate passages, along with a colouristic sense sustained up to the climactic return of its initial music for a magical envoi.
When Brabbins last conducted Elgar’s ‘Enigma’ Variations at the Proms, it was the final item in a 60th-birthday tribute that began with Pictured Within – a latter-day equivalent involving 14 different composers. Tonight’s account gave eloquent insight into what has become almost too familiar a work, evident from the outset in a ‘Theme’ of melting pathos. Highlights from those that followed included the soulfulness of ‘C.A.E.’, pensiveness of ‘R.P.A.’ or elegance of ‘Ysobel’ with its lilting viola from Sebastian Krunnies. ‘Nimrod’ started imperceptibly but built towards a nobly wrought apex, with the affectionate portrayed ‘Dorabella’ or searching evocation of ‘***(Romanza)’ no less affecting. The ‘E.D.U.’ finale moved confidently to an organ-clad peroration exuding what Elgar elsewhere termed a ‘‘massive hope for the future’’.
Just before this performance, Brabbins spoke for a capacity house in paying tribute to Davis with his dedication to music-making in the UK and beyond; something Sir Andrew brought to every one of his 132 appearances at the Proms, across 54 years of dedication to his cause.
This week the Dutch conductor Edo de Waart announced his retirement, after six decades at the top of his game. On inspection of his discography, de Waart has conducted a number of important recordings – either in San Francisco, Minnesota or the Netherlands – and a selection of these are included in the playlist below, which begins with a classic recording of Steve Reich‘s Variations for winds, strings and keyboards and ends with the landmark Harmonium, by John Adams:
